System for support and resonation of a musical instrument

ABSTRACT

This is a universal support system for bar percussion instruments. It can support any size and type bar percussion instrument, in any size snare basket, with any snare basket arm bracket variations. When used in a snare basket having a ball joint, the system can tilt the bar percussion instrument into infinitely many positions, enabling performance art never before possible with this type of instrument.

CROSS-REFERENCE TO RELATED APPLICATION

This is a continuation-in-part application of application Ser. No.15/687,189, filed 25 Aug. 2017, which in turn claims priority toProvisional Application 62/380,125, filed 26 Aug. 2016.

STATEMENT REGARDING FEDERALLY SPONSORED RESEARCH OR DEVELOPMENT

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NAMES OF PARTIES TO A JOINT RESEARCH AGREEMENT

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REFERENCE TO SEQUENCE LISTING, A TABLE OR A COMPUTER PROGRAM LISTINGCOMPACT DISC APPENDIX

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FIELD OF THE INVENTION

This invention relates to an improved system for support and resonationof musical instruments, particularly bar percussion instruments.

BACKGROUND OF THE INVENTION

Most bar percussion instruments such as xylophones, marimbas,vibraphones, glockenspiels and bell kits have a trapezoidal footprint.They are played standing up, so they must rest on something thatsupports the instrument at a comfortable playing height. Musicians andmanufacturers of these instruments continue to struggle with ways tomount them. It has to optimize portability and playability, while stillpreserving sound quality.

Bar percussion instruments generally comprise a row or rows oftone-generating elements (“bars”) laid side by side atop and across abed of four longitudinal rails. Each rail is approximately 36 incheslong, by 0.75 inch thick. The first rail and the second rail are 1.5inches tall. The third rail and the fourth rail are 2.81 inches tall.The longitudinal rails, plus short end pieces joining them, form atrapezoid shape. The frame can be defined as the part of the instrumentthat holds the keyboard in place. Frames are typically made from wood,metal, composite, fiberglass and combinations thereof. Other dimensionsof bars, rails, end pieces and frames are possible, as long as there arefour rails, two end pieces holding them in place and the instrument inits frame has a trapezoid shape.

These instruments, as laid flat with the rails facing up, have a sidefacing the player (“player side”) and a side facing the audience(“audience side”). In a typical concert hall setup, the rail closest tothe player is called the first rail. The second closest to the player isthe second rail, followed by the third rail. The rail closest to theaudience is the fourth rail. The player side row of bars corresponds towhite keys of a piano. The audience side row of bars corresponds to theblack keys of a piano. The differences relate to the materials used forthe bars, and the range of notes played. Xylophones are typically madeof wood or synthetic material and have a range up to 4 octaves. They mayhave resonator tubes suspended beneath the rails and the frame. Marimbashave two rows of wooden bars, beneath which also are resonator tubes.Vibraphones are more similar to marimbas than to xylophones, but aremade of metal, thus generate and sustain sound for comparatively moretime.

The frames, whatever material they may be, are usually mounted onto somesort of cart, pedestal, X-stand or other apparatus to hold the keyboardand frame at suitable height for the player. Traditionally carts havewheels, cross bars, braces or trusses, resonator mounts, hinges, pedals(in the case of vibraphones), and other types of mechanisms to providesupport, stability, aural qualities, and consistency to the keyboard.Whether or not any of these features are included on a particularinstrument model is largely dependent upon the size and application of aparticular model. Some models of bar percussion instruments havethermometers built into the frames or carts. Some frames cannot beremoved (or cannot be easily removed) from the carts, while others canbe completely broken down as part of the design and function, allowingfor smaller pieces for ease of storage and/or portability.

Over time, manufacturers have responded to retail customer feedback andincreased competition from online stores to create instruments that arelow cost, portable, and high quality. It is now possible to buy barpercussion instruments a la carte, without many of the essential andtraditional accessories. For example, full size marimbas can bepurchased without carts or resonator tubes. These instruments areusually referred to as practice instruments and can be mounted or set ona generic X-stand. An X-stand is essentially a stand that a person mayuse for an electronic keyboard. Without a cart, X-stand or resonatortubes, the instrument can also be set on a tabletop, floor, or any othersuitable flat surface. Without these features the cost of the instrumentis significantly reduced and this makes the instruments more accessibleby a wider group of empowered consumers and that has put themanufacturers of the instrument in a sort of “arms race” to achieve thelowest cost with the greatest quality and portability.

In the educational market, bell kits have been utilized as a standardpercussion instrument. Bell kits do not have wooden keyboards. Rather,they have tone bars that are made from thin aluminum or steel. Thismakes them relatively cheap, lightweight, and easy to transport,although they ultimately lack the look, feel, and sound of a realxylophone or marimba.

The music education industry as a whole recognizes that the bell kits,while low in price, have some critical limitations. They do not fullyreplicate the experience of playing a professional xylophone, marimba orvibraphone, making the transition to those instruments difficult. Onepopular solution is a portable xylophone. They are similar in size tothe bell kits, which make it easier for an adolescent or other smalleruser to play and to carry. More importantly, they more accuratelyduplicate the aesthetic, empathic, and aural properties, attributes, andqualities that the end user will encounter with concert level barpercussion instruments.

Bell kits and portable xylophones can be played serviceably when laidonto rolling carts or tables. The carts and tables are stable, but notvery portable, and not adaptable to marimbas, which can have resonatortubes hanging below the plane of the rails. Moreover, the carts andrails themselves vibrate somewhat when the instrument is played,muddying the sound. This is not acceptable at the professional level.What is most needed in this field is a way to support all bar percussioninstruments in a way that is portable, flexible, secure, and allows itto resonate as intended.

A snare drum basket is conventionally used to enclose and support drums.A snare drum basket typically comprises three arms which radiate outwardfrom a central hub. The basket itself connects to and sits atop acentral post, which in turn sits atop a tripod. The basket can be fixedin place, or else be connected to the post by a movable joint. Each armhas a proximal end which attaches to the central hub, and a distal endhaving a bracket. The three distal ends define the points of asupporting triangle. Preferably, the supporting triangle is equilateral,but it can be isosceles or scalene. The brackets have different shapes,most notably a pointed “L” shape and a more rounded “J” shape. Thesebrackets can be mechanically adjusted to hold drums of differingdiameters (or other types of dimensions). The three arms are joined tothe central hub by hinge, allowing them to move vertically in place. Thearms can open flat relative to the central hub to create a relativelylarge triangular opening, or fold toward the central hub to create arelatively small triangular opening. The arms can be secured into thesepositions, or any position, in between.

Interestingly, the triangular basket portion of a snare drum kit can intheory also be used to support trapezoidal bar percussion instruments.Bar percussion instruments can be oriented in such a way so that theyrest solely on and between the three brackets. This leaves plenty ofspace below the basket for resonator tubes to hang. Because of thisspace, the instrument is free to resonate without interference from asolid table or cart.

Some manufacturers place blocks or threaded inserts between the number 2and 3 rails. These blocks allow the bar percussion instrument to rest incertain proprietary stands, and only these proprietary stands.Percussion instruments with these blocks and inserts do not fitconventional snare drum baskets. Moreover, these blocks are screwed toboth rails, pulling the rails toward each other. This warps the railsand creates a choking point on both the natural and sharp scales.

Even supported by its stand, the bar percussion instrument with blocksstill slips out of position while played. Moreover, the “L” bracket onthe basket can scratch one or more of the rails. It can also ride up andtouch the tone bars, attenuating the sound. Players may try tocompensate for this slippage by tightening the basket upon theinstrument. This can ultimately cause key points of rails to crack andthe dado joints holding them together to disintegrate. It damages thefinish of the instrument.

One solution has been to twist the brackets and change theirorientation. While this modification may hold certain bar percussioninstruments, it does not adapt to all bar percussion instruments and nolonger holds snare drums. Yet another solution manufactures have pursuedis to shorten the distance of the “L” brackets. This is supposedly toeliminate the bar percussion instruments from slipping. The frame of theinstrument rests directly on the “L” bracket and eliminates the chancethat the instrument will slip. In this way, the “L” bracket will notcollide with the tone bars. This solution does allow the stand to grip asmaller, thinner, and lighter weight practice pad, but ironically maynot accommodate a snare drum. The snare drum basket is readilyavailable, lightweight, portable and allows a bar instrument to properlyresonate. What it lacks is stability, security and universality.

To improve upon and address these problems, I have created a universalsupport system for bar percussion instruments. It can support any sizebar percussion instrument in any snare stand, with any bracketvariation. My system eliminates slippage. It eliminates the need toapply excess force on the instrument rails, reducing mechanical damageand prolonging the life of the instrument. When used with a snare drumstand having a ball joint, the musician can tilt the instrument at anyangle. This would not have been possible with previous snare basketadaptations. Bar percussionists now have the option of angling theinstrument in a new orientation as performance art, opening up auniverse of new interpretations and creative ways to perform particularmusical passages.

I do this by creating a receiving triangle within the trapezoidal railsof any bar percussion instrument, corresponding to and securely couplingit to the snare basket triangle. Two points of the receiving triangleare defined by a corner brace and by a bolt installed perpendicularlythrough the third rail such that a first portion of the bolt extendsinto a space between the third rail and the fourth rail, and a secondportion of the bolt extends into a space between the second rail and thethird rail. The third point of the receiving triangle is simply a pointalong the bottom of the fourth rail, 45.5% of the distance from a leftside of the audience-facing side of the fourth rail (“the 45.5% point”).

The corner brace comprises a flat surface and a pair of flaps extendingfrom and perpendicular to the flat surface and meeting in a cornerjoint. The flat surface of the corner brace is affixed corner joint upto a player-facing surface of the first rail, approximately halfwayalong its length. Preferably, a standard 2-inch corner brace is used,but alternative size corner braces with corner joints may be selected,in the best judgment of one of ordinary skill in the art. The exactdistances of the corner brace from either end of the rail may varydepending on the length of the rail itself. However, the proportionshould be the same to preserve the shape of the receiving triangle.

The bolt is installed perpendicularly through the third rail so that itextends into the space between the third and the fourth rails, as wellas into the space between the second rail and the third rail. Thedistance the bolt extends into either space can be varied and adjusteddepending on the particular snare drum basket. By installing the boltthrough the third rail, this system can support all bar percussioninstruments. The desired position is secured by a nut. Preferably, a ⅜16 size bolt is chosen, but other sizes of bolt may be substituted byone of ordinary skill in the art, without deviating from the spirit orintent of this disclosure. A custom mechanical and CNC template ensurethe corner brace, the bolt and the 45.5% point of the bottom of thefourth rail form a consistently proportioned receiving triangle on anysize bar percussion instrument, and one that is congruent with thesupporting triangle defined by the snare drum basket brackets.

BRIEF DESCRIPTION OF THE SEVERAL VIEWS OF THE DRAWING

FIG. 1 is a perspective view of an improved system for the support andresonation of a musical instrument.

FIG. 2 is a close-up, perspective view of the audience side of thesystem.

FIG. 3 is a close-up, top view of the system.

FIG. 4 is a perspective view of the player side of the system.

FIG. 5 is a perspective side view of the system.

FIG. 6 is a perspective bottom view of the system.

FIG. 7 is an alternative perspective bottom view of the system.

FIG. 8 shows a seated musician playing the system in a tilted position.

REFERENCE NUMERALS

-   5. System for supporting bar percussion instruments-   10. Bar percussion instrument-   15. Snare drum basket-   20. Central post-   23. Central hub-   25. Arm-   30. Bracket-   35. First rail-   40. Second rail-   45. Third rail-   50. Fourth rail-   53. Resonator tubes-   55. End piece-   60. Frame-   65. Supporting triangle-   70. Corner brace-   75. Bolt-   80. Receiving triangle-   85. Ball joint-   90. Musician

DETAILED DESCRIPTION OF THE INVENTION

FIG. 1 shows an overall view of an improved system for support andresonation of a musical instrument 5. Please note a bar percussioninstrument 10, comprising a two rows of tone bars set upon a frame 60.The frame comprises a first rail 35, a second rail 40, a third rail 45and a fourth rail 50. Each of the four rails is a longitudinalrectangle. The four rails are arranged side by side to form atrapezoidal footprint. The rails are held in position by opposing endpieces 55. Affixed to a player-facing side of the first rail is a cornerbrace 70. The frame of the bar percussion instrument is supported frombeneath by a snare drum basket (not shown in this view). The snare drumbasket is connected to central post 20 of a complete snare drum stand.

FIG. 2 illustrates in detail a bracket 30 of the snare drum basketsupporting the 45.5% point of the bottom side of the fourth rail 50.From this view, one can also see three arms 25 of the snare basket. Thearm in the front supports from beneath the 45.5% point of fourth rail50. In the distance, a second arm supports the player-facing side of thefirst rail. Partially hidden from view, one can also see the third armbetween the third rail 45 and the fourth rail 50. FIG. 3 shows in detailhow bolt 75 rests upon and is supported by the third rail 45.

FIG. 4 shows the system viewed from the perspective of a musician.Facing the player is the first rail 35. FIG. 5 shows the system viewedfrom slightly beneath the level of the frame. One can see here thecentral hub 23 of the snare basket, and how each arm connects to thecentral hub. This particular bar percussion instrument has a row ofresonator tubes 53 hanging between two adjacent rails. Note how theresonator tubes do not touch the snare drum basket. This allows them tofreely and accurately resonate. Please note bolt 75 passing entirelythrough the third rail 45. Part of the bolt 75 occupies the spacebetween the third rail 45 and the fourth rail 50. Another part of thebolt 75 occupies the space between the third rail 45 and the second rail40. This particular bar percussion instrument is resting on the bracketusing the part of the bolt that is between the third rail and the fourthrail. Another bar percussion instrument may alternatively rest on thebracket using the part of the bolt between the second rail and the thirdrail.

FIG. 6 shows the outline of the supporting triangle defined by the threebrackets of the snare drum basket. FIG. 7 shows the outline of thecorresponding receiving triangle defined by the corner brace, the boltand the 45.5% point of the bottom of the fourth rail, mounted to the barpercussion instrument. FIG. 8 shows a seated musician 90 having used theball joint 85 to tilt the bar percussion instrument toward him so he canplay while seated.

I claim:
 1. A system for supporting a bar percussion instrument in asnare drum basket, comprising: a. A bar percussion instrument framed byfour longitudinal rails and two end pieces, each rail having a top, abottom and a length, wherein a first rail lies closest to a player, afourth rail lies closest to an audience, a second rail and a third rail,respectively, lie between the first and the fourth rail, in that order,this frame of longitudinal rails having a trapezoidal footprint, whereinfurther the first rail has a player-facing side and the fourth rail hasan audience-facing side; b. a snare drum basket having three arms, eacharm having a proximal end hinged to a central hub, from whence the armsopen and close, and a distal end, the central hub operatively connectedto a central post; c. a bracket joined to the distal end of each of thethree arms of the snare drum basket, these three brackets defining asupporting triangle when the arms are open; d. a corner brace having aflat surface and a pair of flaps extending from and perpendicular to theflat surface and meeting in a corner joint, wherein the flat surface ofthe corner brace is affixed to the player-facing side of the first railwith its corner joint pointed toward the top of the first rail; e. apoint 45.5% of the length of the fourth rail, located along the bottomof the fourth rail and measured from a left side of the audience-facingside of the fourth rail; and f. a bolt installed perpendicularly throughthe third rail such that a first portion of the bolt extends into aspace between the third rail and the fourth rail, and a second portionof the bolt extends into a space between the second rail and the thirdrail, wherein either the first or the second portion of the bolt,together with the corner brace and the 45.5% point of the fourth rail,define points of a receiving triangle which rests upon the supportingtriangle.
 2. The system of claim 1, wherein the bar percussioninstrument further comprises a row of resonator tubes hanging betweenany two adjacent rails.
 3. The system of claim 1, wherein the snare drumbasket connects to the central post by a ball joint.
 4. The system ofclaim 2, wherein the bar percussion instrument is selected from thegroup consisting of xylophone, vibraphone, marimba, glockenspiel andbell kit.
 5. The system of claim 3, wherein the bar percussioninstrument is selected from the group consisting of xylophone,vibraphone, marimba, glockenspiel and bell kit.
 6. A bar percussioninstrument framed on four longitudinal rails and two end pieces, eachrail having a top, a bottom, and a length, wherein a first rail liesclosest to a player, a fourth rail lies closest to an audience, a secondrail and a third rail, respectively, lie between the first and thefourth rail, in that order, this frame of longitudinal rails having atrapezoidal footprint, wherein further the first rail has aplayer-facing side and the fourth rail has an audience-facing side, thebar percussion instrument further comprising: a. a snare drum baskethaving three arms, each arm having a proximal end hinged to a centralhub, from whence the arms open and close, and a distal end, the centralhub operatively connected to a central post; b. a bracket joined to thedistal end of each of the three arms of the snare drum basket, thesethree brackets defining a supporting triangle when the arms are open; c.a corner brace having a flat surface and a pair of flaps extending fromand perpendicular to the flat surface and meeting in a corner joint,wherein the flat surface of the corner brace is affixed to theplayer-facing side of the first rail with its corner joint pointedtoward the top of the first rail; d. a point 45.5% of the length of thefourth rail, located along the bottom of the fourth rail and measuredfrom a left side of the audience-facing side of the fourth rail; and e.a bolt installed perpendicularly through the third rail such that afirst portion of the bolt extends into a space between the third railand the fourth rail, and a second portion of the bolt extends into aspace between the second rail and the third rail, wherein either thefirst or the second portion of the bolt, together with the corner braceand the 45.5% point along the bottom of the fourth rail, define pointsof a receiving triangle which rests upon the supporting triangle.
 7. Thebar percussion instrument of claim 6, further comprising a row ofresonator tubes hanging between any two adjacent rails.
 8. The barpercussion instrument of claim 7, wherein the bar percussion instrumentremains supported in the snare drum basket when the snare drum basket istilted.
 9. The bar percussion instrument of claim 8, wherein the barpercussion instrument remains supported by the snare drum basket whenthe snare drum basket is tilted.
 10. The bar percussion instrument as inclaim 9, wherein the bar percussion instrument is selected from thegroup consisting of xylophone, vibraphone, marimba, glockenspiel andbell kit.
 11. A method of tilting a bar percussion instrument,comprising the steps of: a. Supporting the bar percussion instrument ofclaim 6 in a snare drum basket having three brackets defining asupporting triangle, a central post and a ball joint connecting thesnare drum basket to the central post; and b. Tilting the snare drumbasket relative to the central post.